This case study is drawn from the authors' ongoing international study of teaching artists in dance and theatre. The study takes an in-depth look at teaching artists' artistic and academic preparation in dance and theatre, entry into the teaching artist field, rewards, challenges, and assessment of their work, and their professional development,…

Like so many other doctors, the author loves the arts deeply. Playing a musical instrument and making photographs have been joyful pursuits throughout his schooling, training, and subsequent forty-five-year career as a medical school professor and practitioner of diagnostic radiology. Despite stretches when his healing art pushed aside his visual…

For nearly 25 years, the author has driven the highways and back roads of Illinois, teaching dance to school children, leading family programs, performing lecture/demonstrations, and choreographing technically simple, conceptually complex pieces with and for young dancers. The author's home base is Champaign/Urbana (C/U), twin cities with a…

In 2003, the Arts Education Partnership's Second National Forum on Partnerships Improving Teaching in the Arts recommends that Teaching Artists be trained to be advocates and to speak publicly to education stakeholders about what they do. The author agrees. However, she believes that Teaching Artists must familiarize themselves with the available…

This article presents an interview with four seasoned Teaching Artists: Keith Terry, Kimberly de Caires, Ruth Bossieux, and Jeff Raz. The TAs reflect on the importance and complexity of intellectual property issues. They also shed new light on the views and experiences of TAs around this issue and encourages a broader dialog in the TA community.

Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when this author interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's "Movement for Actors and Directors" course at Harvard…

Argues that art skills can be taught, but the way that individual artists use those skills cannot be taught. Discusses how teachers in the arts require different preparation from that provided today and that new approaches are needed to teach art lovers and aspiring professionals. (KM)

Introduces a six-article symposium on interdisciplinary art education. Maintains that the specialization of modern societies presents a barrier between the arts and an interdisciplinary approach to arts education. Previews five articles that follow in the symposium. (CFR)

Discusses two related dilemmas: (1) the tension between the Western view of historical progress and the realities of modern society; and (2) the tension between old and new approaches to teaching and learning about the arts. Argues that the end result of implementing the Goals 2000 program might diminish the teaching of the arts as discrete…

Maintains that educational theorists have long advocated integrated, multidisciplinary curriculum development and instruction. Argues that the arts must maintain their integrity in the curriculum and be taught for their own sake, rather than serving as aids to instruction in other disciplines. (CFR)

Asserts that the general educational curriculum tends to be fragmented and compartmentalized and that this situation would be improved by curriculum integration. Argues that an interdisciplinary arts approach would require new teacher attitudes and instructional strategies. (CFR)